Sadler Vaden

Sadler Vaden

Parker Gispert

Ages 18+
Sadler Vaden (of The 400 Unit) with Parker Gispert plays the Creek Stage at The Rookery

Acclaimed solo artist. Songwriter. Grammy-winning member of Jason Isbell

and the 400 Unit. Producer. Studio musician. Modern-day guitar hero. A

professional musician since the age of 18, Sadler Vaden has spent the better

part of two decades on stage, on the road, and in the recording studio, lending

his unique rock & roll approach to highly-revered bands, up-and-coming acts,

and solo albums like his forthcoming Anybody Out There?

The full-length follow-up to his 2016 debut, Anybody Out There? mixes the

hook-savvy sweep of Vaden's songwriting with the supersized stomp of his

electric guitar. It's a modern record that doesn't ignore the past, balancing

frequent nods to Vaden's 20th-century influences — including Neil Young,

The Who, Tom Petty, Joe Walsh, and Oasis — with a contemporary sound

that mixes raw, live performances with digital recording technology. Self-

produced by Vaden, engineered by longtime collaborator (and multi-platinum

producer) Paul Ebersold, and mastered by Grammy Award-winner Richard

Dodd, Anybody Out There? is Sadler Vaden at his most adventurous, stocked

with melody-driven songs that deal with the challenges of creating a true

human connection in a modern, technology-obsessed world.

Raised in North Myrtle Beach and the outskirts of Charleston, SC, Vaden

began playing gigs as a teenager, serving as the frontman of a locally-beloved

rock & roll power trio named Leslie. The band shared shows with headliners

like Drivin’ N Cryin’ and Jason Isbell, both of whom later recruited Vaden to

join their own lineups. During his time with Drivin’ N Cryin’, he produced

the band's series of Songs... EPs while also playing lead guitar on crowd

favorites like "Fly Me Courageous" and "Straight to Hell." He left the group

for Isbell's band in 2013, shortly before Isbell's career-shifting album

Southeastern hit stores, and has remained an integral member of the group

ever since, lending his vocal harmonies and song-serving guitar fretwork to

Grammy-winning albums like Something More Than Free and The Nashville

Sound along the way. Meanwhile, he has also continued releasing his own

material, including his 2016 self-titled debut full-length and standalone

singles like "Monster," the latter of which was hailed by Rolling Stone as a

"T. Rex-evoking jam [that] doubles as a commentary on the U.S.'s negative

political and social climate."

Vaden's diverse career continues with Anybody Out There? The title track

mixes drummer Fred Eltringham's percussive thunder with a monster guitar

riff co-written alongside Audley Freed, while "Next To You" is a highway-

bound road song that nods to the Heartbreakers' heartland rock. The guitar

tones and communal themes of Aaron Lee Tasjan co-write "Peace +

Harmony" channel George Harrison, and the nostalgic "Modern Times"

makes room for swirling Mellotron, acoustic guitar, and claves. The album

culminates with "Tried and True," a guitar-heavy love letter to rock & roll

music that concludes Anybody Out There? on an anthemic note.

"It's always been there for me, through the good and bad," Sadler Vaden says

of the rock & roll genre, whose uplift and epic punch first convinced him to

pick up the guitar as a 10-year-old. Years later, he's proudly carrying the

torch, nodding to the rock & roll music that came before him while crafting

some contemporary classics of his own.

Parker Gispert Sunlight Tonight

Parker Gispert was still in college when he helped form the Whigs in the early 2000s. But after five critically-acclaimed albums, hundreds of tour

dates all over the world with the likes of Kings of Leon, Drive-By Truckers, the Black Keys and many others, and television appearances everywhere from the Late Show with David Letterman to Jimmy

Kimmel Live! , the Athens, Georgia-bred rockers decided to pull back on activity in 2017.

Which left Gispert, who had spent the majority of his adult life either in the studio or on the road with the band, at a crossroads. “It occurred to me that if I wanted to record and tour that I was going to

need to do it solo,” the singer, songwriter and guitarist says. “I'd always thought about it in the back of my mind as something that I wanted to do

one day, but ‘one day’ had never really come.”

Now, ‘one day’ is here in the form of Sunlight Tonight , Gispert’s debut solo album (produced and mixed by Emery Dobyns). The eight-song

effort finds Gispert, known for leading the Whigs through raw and jangly southern-garage rave-ups, taking a decidedly different musical approachâ€"biting electric guitar riffs are cast out in favor of gentle

acoustic picking and strumming, and his band mates’ raucous rhythms are traded in for minimal accompaniment that includes light bass and

drums, orchestral strings and even trumpet. Gispert’s lyrics, meanwhile, are his most introspective and personal to date (albeit with a bit of humor thrown in here and there) and they’re delivered in a vocal style that finds him pushing out on his range. “I didn't need to project over a

band, so I was able to sing in registers I hadn’t really used before, like a lot of high falsetto,” he explains.

The end result showcases a different side of the artist, to be sure. But it’s one that Gispert felt compelled to explore. “A lot of guys from rock bands

that go solo, they just hire another bassist and drummer and go make another album,” he says. “I didn’t want to go that route.” Ultimately, his change in musical direction was helped along by a change

in geography. A longtime resident of Nashville (by way of Atlanta, and then Athens), Gispert last year accepted an invitation from a friend to visit his 100-acre hemp farm, located roughly an hour outside Music City. “It was like out of a total time warp,” Gispert recalls of the property. “No heat or AC. No animals. No active crops. Water from a well. It was

just, like, a house and a plot of land. I ended up staying there for a year.” That plot of land was where Sunlight Tonight came into being. “I would

wake up early and get my guitar and walk outside and come up with all these songs,” Gispert says. “And without a band to turn to as the deciding

factor on, say, a melody or a lyric, I ended up turning to the scenery and the landscape I was dealing with instead. The farm was like my

collaboratorâ€"it kind of answered everything for me, as weird as that sounds. And the songs

started coming pretty quickly.” The first one that came is also the one that opens Sunlight Tonight â€"a

psychedelia-laced meditation titled “Through the Canvas.” Built on a bed of acoustic guitar and cello, the song finds Gispert laying out what is

essentially a statement of purpose: “Suddenly I got up / Suddenly I could move / shook off all the bullshit that was weighing down my shoes.”

Explains Gispert, “With the Whigs, I had been in that band since I was a teenager. So when that slowed, I found myself in a place where I was almost paralyzed, like, What do I do next ? It was just confusing. But that song sums up what happened when I got to the farm. It was like, suddenly I got up, grabbed a guitar, walked down to this big field and...” Shook off all the bullshit?

Gispert laughs. “Yeah. And bullshit was exactly the word to describe it. It was all the worries. All the fear. All the drama. All the stuff you can’t even

articulate. After I put all of that behind me I was able to set out on this journey of making a solo record.” That journey ended up being very unlike any Gispert had embarked upon

previously. For starters, he says, “I wrote all of the songs for the record while outside, and that’s something I’d never done before. Usually I’d be

in a cramped apartment or a studio spaceâ€"not, like, walking around outside in a big open field at 1:00 AM, just singing and playing.”

He laughs. “And the good thing is, I was on this secluded property, so nobody could see meâ€"it didn't matter if I looked like a total goofball just wandering around in my jean shorts strumming an acoustic guitar.” The material that Gispert came up at the farm with was primarily

acoustic-based, but at the same time still incredibly diverse, from the dark folk of “Magnolia Sunrise” to the ambient tones of “Life in the Goldilocks Zone”; the T. Rex-y groove-glam of “Volcano,” to the lo-fi

garage-fuzz of “Is It Nine”; the exuberant mariachi-horn-rock of “Too Dumb to Love Anyone” (the one composition Gispert says was originally written with the Whigs in mind) to the oddball genre exercise “Do Some Country.” That last one also features some witty wordplay (“I am a rock artist,”

Gispert sings, before adding, “I paint pictures on limestone”), as well as a unique origin story regarding its title. “I was at a Nikki Lane show,”

Gispert recalls, “and in between songs this woman in the audience kept yelling (in a heavy southern accent ) “C’monNikki! Do some country

!”And my friend and I were just like, ‘Man...that would be such a sweet

song title!’ ” There are other lighthearted moments on Sunlight Tonight, such as the

nursery-rhyme-like “Is It Nine,” on which Gispert attempts to determine which number would fit best into the alphabet. The genesis of that

riddle? “It was just a ridiculous question I asked myself, and I had never heard a song about that particular question before,” he explains. “So I

thought for my first solo album it would be a good idea to have one track that was uniquely ‘Parker.’ Because there are so many love songs or

political songs or whatever out there already.”

Which is not to say that Gispert shies away from those topics on Sunlight Tonight . “Too Dumb to Love Anyone,” for one, addresses his present

station in life as an unwedded man. “I'm 36, and most of my friends are at that point where they’re getting married and having kids,” he says.

“And my friends' wives will say things to me like, ‘Parker, when are you gonna meet somebody and join the club?’ So I always say, the only thing standing in between me and a great relationship is that the idea has never occurred

to me.” Then there’s “Magnolia Sunrise,” which unfolds somewhat uneventfully,

with Gispert grabbing breakfast at a local diner (“Coffee, Tennessee /grits made to order”) before an anxious waitress shatters his mundane

tranquility: “There’s still a lot that could go wrong,” she tells him. As the guitar accompaniment builds and the orchestral strings turn frantic, Gispert intones, ominously, “One Saturday morning / there will be no warning.”

The narrative, Gispert says, “is based on a real interaction I had, at a diner right down the road that I’d go to all the time in the mornings. I

ended up talking to this waitress who was having irrational fears of, like, a hurricane coming, or a nuclear threat. It brings up this idea of, you

could be chilling out, enjoying your day, and when you least expect it,

that's when something happensâ€"tragedy could be right around the corner.”

Clearly, Gispert’s environment and experiences at the farm factored heavily into the words and music he wrote for Sunlight Tonight. Butwhen it came time to record the material, he left his rural surroundings

behind and headed back into Nashville, cutting tracks at Blackbird Studios and Hacienda Studios, with producer Emery Dobyns (Patti

Smith, Antony and the Johnsons) at the helm. Dobyns also added various instrumentation to the tracks, alongside contributions from Black Keys drummer Patrick Carney, former Sparklehorse vocalist Sol Seppy and Adele bassist Samuel Dixon, among other musicians. “It was like there was one phase of the record, which was me alone writing

everything,” Gispert says. “And then there was the second phase, the studio phase, which was very much a team effort, with Emery shaping

the record sonically and production-wise.”

When it comes to playing this material live, however, Gispert has been going it aloneâ€"an atypical arrangement for him onstage, but one that

he’s been finding incredibly satisfying. “I love it a lot,” he says about being out on his own. “I feel really comfortable up there by myself, and in

some respects I'm able to connect with the crowd in a way that I never was able to do with a band.”

That said, Gispert still gets plenty of opportunities to play with his band,as the Whigs continue to reconvene for sporadic live shows, including a

recent spate of dates celebrating the tenth anniversary of their 2008 record, Mission Control . But far from his solo endeavors having a

negative impact on the group, he’s found the opposite to be true. “I'd always been afraid of doing something solo because I thought it might

mess up the band vibe, but now I'm able to see that it actually helps,” Gispert says. “When we do get back together to play, it's fun and it's fresh

and it has new life.” As for what the future holds, Gispert is open to any and all possibilities

that might follow in the wake of Sunlight Tonight . “Because I didn't even see any of this happening, you know?” he says. “So I can’t really say

what comes next. But it’s almost like a weight off my shoulders to not really know where I'm going from here.”

One thing he can say for sure: the farm that served as both inspiration and companion to Gispert throughout the writing process for Sunlight

Tonight is now a thing of the past. "I’ve moved away,” he reports. “I’m living over by a lake now.” Gispert laughs. “I’m trying to switch it up.”

Venue Information:
The Creek Stage at The Rookery
543 Cherry Street
Macon, GA, 31201